This show was webcast via Live Phish. Driver was played for the first time since August 3, 2013 (111 shows). Mike teased Sundown in Bathtub Gin. Love You was played for the first time since October 23, 2010 (216 shows).

Show Reviews

After 7-15, this show will be criminally underrated. From my spot on the couch, judging only the music, this night was preferable. I'll also preface this by saying that 7/15 is probably the most laughably overrated show I've seen on .net. So I'm going to do this review comparing to the previous night for perspective. Also keep in mind I'm not trying to take away the fun you had when I say something negative, I'm just calling it like I heard it.

First off, the first set was very strong. Bathtub Gin is far and away the highlight of the night, maybe the whole weekend, but every song was well played and there were no lame songs to interrupt the flow (looking at you "line"). It's Ice was particularly good was well, and overall this was a very fun way to start off the show.

Secondly, the second set falls prey to what has been practically a curse this summer: no serious type 2 jams. Blaze on did go a bit further than usual and could be considered type 2, but it really didn't feel all that inspired. But it was no worse than C&P from night one. Both went about the same distance "out there". The rest of the set has one big thing going for it, and that is machine gun Trey, back from the grave. There were moments of this kind of relentless shredding from trey the night before (particularly chalkdust), but tonight he was on a different level. This is especially true with Gin throught BOAF, just killer playing from trey that makes these type 1 versions really stand out.

I would say that this concert has a lot more relisten value than night 1. It also reminds me of MPP2 from 2015 and Mann2 this year. Both had really strong first sets, but kind of fell flat set 2. The difference is that Trey was on fire last night. Even though the jams didn't go type 2, he played this shit out of ever second of it. Also, let's remember there wasn't really any type 2 going on night 1 either, save some major chords in C&P and trey on the 2016 mini kit.

To sum up, the 2 nights at the gorge are more similar on relisten than the ratings will suggest, and I would even say that musically, Night 2 was far and away the superior show It may not have had the spontaneity of the night 1 tease fest, but if you can get over the song length (which especially doesn't matter when things stay type 1), you'll likely enjoy this show a lot as well.

First off, a word of warning: this is without a doubt one of the dorkiest things ever written, but that's why we're here, right? I'm not going to review the show, but I did want to add my opinion to what ivebeentheretoo wrote, and put forward a theory, about how these shows are rated.

ivebeentheretoo wrote "I'll also preface this by saying that 7/15 is probably the most laughably overrated show I've seen on .net." I've felt that reviews on this site are not always a good indicator of which missed shows I should check out. The older show reviews (i.e. from 1.0 and 2.0) are much more reliable because people have had time to digest the shows and see them for what they are. The ratings for newer shows, and especially those from the current tours, tend to be poor measures, especially on the higher scores, for 3 reasons: 1) phans by and large are kind, and truly appreciate this band; 2) phans often vote on how a setlist looks on paper; and 3) after a string of poor to average shows, a good show becomes a great show. Occasionally, you get a show like last night's which was well played, but had the unfortunate circumstance of following one of the shows that benefitted heavily from reasons 1 and 2 from above.

I think the rating system on .net is generally great, and I often use it to inform me about which shows on the current tour I should find on Youtube. It'd be fantastic if we could use a weighting system modeled on the factors listed above (or using others that you all think are worthy) to normalize these reviews that are otherwise subject to a high degree of bias. I bet many of us get frustrated when well-played shows that we've either couch-toured or attended get screwed in the ratings due to these biases.

Obviously, on the list of important things that need to get done in the world, this is probably last. But this is also the kind of thing that .net dorks like us love to think about. Let's help rescue good shows from a lifetime of being ignored!

A standout version of BOAF. Really! And I like where they are starting to take Wingsuit. It is really a strong tune.

But the overall slow but steady foothold that the Trey/TAB ballad/singer-songwriter tunes are gaining in Phish sets these days is a disturbing trend for me. To that point, that isn't why I listen to Phish. There are many, many other artists (both active and from days of yore) that do that much more effectively and in better context. One, may two, a show to cool things down? Sure. 5 or 6 night? Sorry. The juxtaposition of these simple songs against the more layered, complex pieces gets lost when more are played.

And the Farmhouse - Hydrogen swap in the 4th quarter was just a head scratching turd in the punch bowl. 5 shows left on the tour. What will our favorite band bring to round out this swing?

I said the Gin was incredible, but the rest was mediocre. How the hell does this warrant such a fiercely negative reaction?

Just because I'm not an fanboy and don't unconditionally praise every single thing they do (or praise it solely because ''I had a good time'' like some idiots do) doesn't mean I hate them, and I think the show really tried to go somewhere, which counts for a lot, but it still doesn't elevate it much past ''inessential'' status, but DEAR GOD DAT GIN.

i attended this show and thought I would add my immediate reactions. Note that I haven't completely digested what happened this weekend to me and those other lucky folks that were able to make the journey out. As indicated above, Saturday loomed beneath the towering second set from Friday, in which the song fabric was sewn with together with material from the Crosseyed and NMINML funk machines. Indeed many of us were still waiting on Saturday for the high level magic to continue its crescendo. The pit was crammed on Saturdsy in anticipation. Instead of a continuation of Friday, we were treated to a well executed, slower paced and at times deeply exploratory show. The communication between band members is different this tour compared to the last few years, and has more darker elements, especially from Trey. I also felt Trey cued the band into riskier jam territory. This is exciting to me, lending to greater equal potential for specialness and also fizzle.

Buried Alive>Bag were well executed and high energy. Definitely good dance vibes on the lawn as the sun set below the rim of the gorge and a warm breeze rose high across the desert. Flying tortillas and a ribbon/confetti storm added to the festive spirit. The opening chords of Moma promised funk but was dampened somewhat by some of those before mentioned darker elements from Trey. Uncle Pen was very well executed and the lawn turned into a bluegrass get-down. The band took the solo part of the song for some extra measures. Things slowed down thru 555 and Sleep Again. It's Ice was a first set highlight. The exploring in the jam segment lept the typical borderlines and ventured briefly into the hinterlands of space. A sweet Driver offered sing along swaying in the cool breezy headwinds out of the northwest. Sand was taken deeper than normal and rejuvenated the dancing which was stifled for several songs. A clean yet seemingly uninspired Horn slowed things back down. A sweet Halfway to the Moon continued the mellow mood and was perhaps amid to the rising near full moon that created above the crowd into the bands field of view. This version was crisp and inspired. Bathtub closed out the first set and had the most exploration of any song in the first set and twisted and turned following leads tossed out by each inspired band member.

The second set opened with Blaze On and got things moving early. I am continually impressed that after 30 years we are still getting new danceable material. Blaze went briefly into spacey territory before dropping into Number Line. However, this song may be the hidden gem of the second set. It's the Minglewood Blues of Phish...one I don't root to hear but seem to enjoy when it arrives. The first major glow stick war erupted during the start of this song which may have helped grow momentum that seemed to resonate with the band. Trey in particular seemed possessed to take this version up a notch. A trench coat wearing Carini brought the lumpy darkness back. Short and solid. After a competent and danceable BOAF things slowed way down. Wingsuit was well played and explored in-depth by the band. Shade kept the tempo slow. The catchy chorus and circular harmonies were sweet but harkened the end of the high hopes for a funkiest 3rd quarter. The clarion call of Mikes attempted to regain the energy, however the call was made to fall into a surprisingly placed Farmhouse. Although well played, this version lacked the passionate that can make this song great at times. A creaky segue into Weekapaug led to another highlight jam. For a few minutes the funk is a thick delicious gravy. Kuroda's pattern panels blended with staccato lights perfectly to create a red and yellow insane clown house. Page's clarinet and Treys Mutron filter stirred the cow filth supreme. A highlight for me. A perfectly placed Shine A Light closed the set. Loving Hugs were shared all around during this song.

The encore featured comedy and theatrical entertainment from Fishman. A nailed vacuum solo resonated of classic Phish. A passionate Hood followed and included Trey calling down the lights so he could jam while watching the immense glow stick volleys. The Reprise bookended the weekend and allowed us all one last dance party to our favorite band.

As Bushwood said, this Birds Of A Feather is a standout version - he didn't go into detail, so let me do so: Trey sings it in a sort of whisper and the entire song is a gentle version of BOAF.......slower tempo strange and trippy. I can't say I've ever heard them slow it down like that. Overall, the entire second set is A+ playing, if you ask me despite no long jams. I am of the opinion, a show can still be an A+ show without any long jams and this show would take the cake. Our mouths were dropping while watching the webcast.

The first set felt as if they were picking up right where they left off the night before. Buried alive is a classic opener. Seeing Phish play Bill Monroe is fun, if you're into that sort of thing. The Driver provides a tender, introspective moment. The Sand is pretty hot. The Gin is a blast!

Then came the let down set. Blaze On opens for some reason; I guess Trey is really into it. From there, the set turns into an uninspired wank-fest. Honestly, I gave up on the show during the Wingsuit. I'm not sure if I was more bored with the questionable song selection and related lack of flow or annoyed by the fact that the band was not performing anywhere near their potential. This is the first time I've ever felt compelled to walk out of a Phish show.

If you need music to put your kid to bed there is plenty of it in this second set. If you want to lesson in repetitive hammer-ons you can check out the BDTNL. Otherwise, I'm not sure there is any reason to listen to this concert.

On paper, this first set probably doesn’t look that impressive, but it is. Each song is played with vigor, and there’s nary a lull to be had, even where you’d expect to find one. It’s one of the strongest, most consistent, first sets of the tour.

Buried Alive is one of the best and most beloved openers in Phish’s catalogue, so things are off to a good start. Phish maintains the energy through the next three songs, AC/DC Bag, Moma Dance, and Uncle Pen. It’s an entirely listenable, entirely danceable sequence, and everyone was getting down. Few bands can seamlessly string together surf music, straightforward rock, some funk, and some bluegrass and keep everyone moving without missing a beat. Phish can, and Phish did. Buried Alive is clean; Bag is enthusiastic and highlighted by a solid solo from Trey; Moma drops perfectly out of Bag and lands into the funk sweet spot where everyone can feel it; and Uncle Pen is another clean delivery with nice work from Mike and some fretboard acrobatics from Trey.

555 might look like the first misstep of the set, but it really didn’t turn out that way. The energy was already high, and 555 was able to carry it a little further. It’s a good song when placed well. The only problem is that it’s a bit too often played, which means it’s frequently not placed well. Fortunately, it worked here, and Trey peeled out a demonic solo with hints of the Carini to come later in the night. If you listen to both solos, you’ll notice a striking resemblance between the two.

Sleep Again was a welcomed choice for the setting sun ballad slot. A gorgeous song with an exceptionally gorgeous Page solo. This was my earworm the next day. I couldn’t get the Sleep Again melody out of my head, and I didn’t really want to. Next is It’s Ice. The composed sections are definitely passable, and the boys treat us to a nice extended jam in the breakdown. I’m happy we’ve returned to an era when a little Ice jam is expected. If this were only a couple years back, this Ice would definitely be on the charts.

After the down and up sequence of Sleep Again and It’s Ice, the boys take us down again for the big bust-out of the night, Driver. We’ll see this up and down pattern in the second set with less benign effects, but it works in the first set, especially when the sandwich includes two relatively rare slow songs interspliced with some Ice and then a little Sand. Sand stays within the sandbox, but it’s always fun playing around in there. The boys build a dazzling castle with a vertiginous precipice before moving on to their next plaything.

Trey hits all his marks in Horn, which makes this Horn a good Horn. Halfway to the Moon is a song with a lot of potential, but is too often played and too often not given the effort it deserves (I’ve seen it 4 times in my last 7 shows). Tonight it was given that effort, and, like the version from 10/17/14 in Eugene, OR, the build up is vibrant and the peak is strong. Halfway to the Moon is another example of where this set could plunk a dud and instead lands a gem.

The first set closes with a climax of epic proportions in the form of Bathtub Gin. This is possibly Trey’s highpoint of the evening. It’s shreddy and super peaky. There isn’t necessarily a lot of interesting phrasing that sticks out along the way, but it’s still impossible not to get caught up in this jam’s uproarious lift-off after uproarious lift-off. The song starts peaking around the 8:30 mark and doesn’t stop ascending for the next three minutes. Definitely worth a listen.

The end of the first set ties up two killer sets in a row at the Gorge, this one and the second set from the night before. It’s no wonder expectations were high for the final set of the weekend.

The second set opens with Blaze On. Blaze On, like Fuego, is one of those promising songs that almost immediately after being premiered entered the pantheon of over-played. It’s not a song I’m excited to hear, especially in the second set. Unfortunately, I wasn’t given a reason to reconsider my position. Blaze On leaves structure only to quickly fizzle out. Over about three minutes, a lot of promising ideas are presented, likely too many, which is maybe why none of them take hold. An attempted jam soon forgotten.

Backwards Down the Number Line follows the aborted jam. This is a song that has really grown on me. I’ve gone from grunts of disappointment at its opening chords, to genuine gleeful hooting. And the rest of the crowd at the Gorge seemed to be of a similar mind because Number Line was very warmly welcomed this evening. But this Number Line doesn’t quite do the trick. Re-listens prove it marred by some significantly placed flubs from Trey (the one during the peak was even apparent during the show). With a song like Number Line, you’re not going to find that much variety between versions; there’s really no reason to go for a flubified one over one better executed.

For re-listen value, the second set really gets underway with Carini. The energy during the verses and chorus was absolutely astounding. The true essence of the song is fully palpable. Trey was especially into it and even gave us a second run through the “lumpy head” refrain. The jam stays inside the box, but it’s an explosive box, for sure. Trey tears at his guitar with long, distorted strains, like we heard in 555, but this time with frankenstein intensity. It’s short, but it’s perfect.

Birds of a Feather was the most originally conceived song of the night, which is not something typically said of BOAF. Trey barely touches his guitar while singing the verses, only a few accents here and there. The rest of the guys catch on, and BOAF starts as a kind of minimalist collage, with a little color added here and there by each of the band members. Trey’s solo starts subterranean, just nudging at the earth, and then peaking through, but staying close to the ground, peering through the grass, inching this way and that, surveying, moving from a slither to a crawl to a gallop. By the end, it sounds like the BOAF we’re used to, but how we got there was quite a different adventure, and Trey exhibited some awesome artistry in brining us along.

After a Trey-huddle, the guys slow it down even more from an already relatively slow BOAF. Wingsuit is a beautiful song, and this is actually an exceptional version. There’s about two minutes more than usual in the jam section. You can hear Trey looking for different pockets in the music to explore, but what results isn’t as interesting as the BOAF that preceded. It’s a nice jam, but very chill and very delicate. That could potentially be a bonus, but it matters what they follow Wingsuit up with. Judging by typical Wingsuit placement, I think Trey believes it’s some sort of rocker. Someone should tell him that it’s not. No matter how much he slays at the end, the mellowed out beginning and the still swayable climax don’t quite constitute for an energy boost, which is all to say, Phish should not follow Wingsuit with a ballad. Wingsuit is the ballad. No discussion necessary. And this more chilled out version of Wingsuit is especially a ballad.

But, like I said, I think someone still needs to tell Trey this because they follow Wingsuit with Shade. I heard Shade debuted in Bend in 2015, and I like Shade, but this was absolutely horrible placement for it. If you cut this song out, the entire third quarter of this show would be much better, and I bet the rating would go up significantly. But Shade’s here, casting its shadow, and it sucks all the energy out.

Thankfully, they follow up with a Mike’s Song. They have a lot of ground to make up after the Shade energy-suck, but depending on song selection in this Groove, all could be salvaged. The Mike’s Song is strong, forceful stuff. Dark, menacing, and funkafied. Trey’s Mu-Tron puts in its best work of the night. There’s something about this jam that makes me think of old school Nintendo fighting games. It’s that good.

But once someone turns off the game console and the electricity goes out, we find ourselves quietly in the Farmhouse. Again, I like Farmhouse, but after the Wingsuit>Shade sequence only one song back, Farmhouse seems a quick descent just after we began to rise. (For re-listen value, if you just cut out the Shade, the whole set flows much more smoothly, and Farmhouse’s intrusion isn’t nearly as detrimental). But, Farmhouse is where Trey wanted to be, and, if you listen, you hear why. This solo is just dripping with sweetness and sentiment and sensitivity. It’s one of the better Farmhouses out there. Trey was in a delicate mood this evening, and you can hear it in all the ballads, which is probably why there were so many.

So now back up this rollercoaster with Weekapaug Groove. The jam starts out frenetic and exciting in a Page-led fury. Trey’s echoplex and some slap-happy quickness from Mike add some vibrant texture, but Trey starts feeling delicate again, and he takes the jam into a sweet little grassy valley, where all is well and serene. After gazing about there for a bit, he brings the jam back up and we make it back to a place similar to the one where Page left us. I would like to say this jam has a perfectly coherent valley-like structure to it, but that’s not quite the case. All the parts are awesome, but how they’re placed together, ultimately, feels a little disjointed.

Nonetheless, we were feeling pretty high after the Groove, so Trey has to make sure we relax into the beauty once more with Shine a Light before they close out the set. Shine a Light is Shine a Light. It’s a great song for when you’re in the mood. After the rollercoaster of this set, though, it was hard to know what you were in the mood for. You didn’t want to get too comfortable anywhere…I guess all I really have to say about this song is that I wish Trey would jam out the solo more.

The encore is a nice cohesive chunk of music, which I would give an A+ as far as encores go. It has a little of everything. First, we get the phishy hijinks of HYHU>Love>HYHU. Good for freaking out the noobs, fun for everyone else.

Then we get the community and the glory. If the vacuum solo freaked out the noobs, the Harry Hood definitely astounded them and brought them into the fold. Trey has CK5 kill the lights and the glow-stick wars begin. No matter how many times you’ve seen it, you can’t help but be mesmerized when it reaches this capacity. The build up to this Hood is almost entirely environmental, as the guys more or less let the spectacle sink in before stepping in with the music. On recording, this Hood build up might sound a little short, but, in person, it hit fever pitch right on time.

Then the rocker. They bookend the weekend with a balls to the wall Tweezer Reprise. There are few better ways to end a show or a weekend.

First set: Lots of great moments here- I thought the energy was awesome and built up amazingly all the way until Gin. Lots of treats I wasn't expecting to hear- Driver, It's Ice, and Uncle Pen being personal early on highlights. To my ears they were executed pretty darn well- not sure what first set flubs some folks are talking about- but I haven't had the chance to relisten at home yet. Sand was awesome, unexpected, a bit short but fiery, and got the whole place moving. And the Gin... well I think everyone can agree it was a highlight. By the end of the first set I was soaked in sweat from dancing so hard and grinning ear to ear. By the looks of it everyone else in the venue was too. Absolutely on fire. So much energy from the band and the fans it was ridiculous.

Second set: After such a smoking last half of the first set my hopes were high for a great second set, which is part of the reason I found it so wildly disappointing. I tried hard to love this set but the constant ups and downs of the song choices were jarring and unpleasant. #Line is a personal favorite of mine (not sure why people dislike this one) but the placement in the second set was awful. Carini was fun but disappeared way too quickly and the energy died again... Wingsuit was well played and would have been an awesome second set cool-down, had it been bookended by some decent jam explorations or higher energy songs. But when Shade started up next, the band had lost me and by the looks of it, a lot of other folks too. By the time the first notes of Mikes hit I was deflated but ever hopeful.... but the pattern of alternating fast songs and ballads continued till the bitter end, and killed any semblance of setlist flow.

This isn't to say I didn't have one hell of a fun night, but that's not really what a show review is about... singularly, I really love all the songs played second set (even Farmhouse and Shade, both songs I happen to enjoy). But the way they were linked together made for a really tiring second set.

Encore: Always a pleasure to see Fishman bring out the vaccuum. The solo here was particularly abrasive and loud... fun to watch kids in attendance that are unfamiliar with the band looking confused when the electrolux comes out. Hood was nice, but had to close my eyes to focus on the tunes and block out all the mollied up kids running around chucking glowsticks at each other and not listening to the music.... Tweeprise was what it was, often a great exclamation point after an amazing show, but tonight it felt much less celebratory.

High hopes for the rest of the west coast shows! And lets hope they don't wait another 3 years till the next visit to the Gorge...

I agree that this show will be under-rated. It scorches. A solid song-list for the 1st set, with almost no flubs. Bag->Moma Dance was solid, as was Halfway to the Moon (i want to hear more of this one). Gin was Gin, and we are lucky it is and was and will be. I've loved Sleep Again ever since the "GRAB" shows. And 555 was very well done. I said to myself, "if they are going to have a 1st set like that then this could be a memorable show." And it was.

Second set was a perpetual glow stick war. The crowd was INCREDIBLE all weekend. I just loved every minute of my first Gorge experience. Blaze On isn't a favorite but it led to Number Line which is. And Trey was playing some tasteful licks in the jam. The Carini was the best I've ever heard, with real solid guitar-work throughout the 7+ minutes. The Birds that immediately followed was equally strong. Wingsuit, which is not a fav and the lyrics are really not a fav, was absolutely crushed. Trey's guitar work was extremely inventive this night, and Page kept the funky clavinet action rolling. The Mike's was also super funky.

The night also had as fine of an encore as you'll ever see. I really loved this show. Maybe it was the Gorge and the great crowd that increased my love.

There was absolutely no jamming between Line & Carini, Carini & Birds, Mike's and Farmhouse, and Farmhouse and Weekapaugh. In fact, several of the songs have very distinct endings with everyone hitting a final notes and then starting the next song a moment later. I've said this for years, whoever posts these setlists gets over-excited with the arrows. Great show though. I'm enjoying it again right now.

I know ill take heat from my point of view or maybe just the straight facts that people don't want to believe. However I agree with @brains481 100% or maybe even more than that hehe. I absolutely love this band and have seen my fair share of shows since 12.11.99 (hood opener, still prob the best show I ever saw and not cuz it was my first). I digress, anyway this tour has been mediocre at best IMO. Will be the first run since 3.0 that I haven't been on tour at all and I'm completely fine with that. The exploratory jamming has been mostly absent except for say the wrigley twist, spac CDT and Moma, mansfield (ghost and light combo, plus cities). Throw in breath and burning from Mann also. But really other than that everything has beeen standard. Also trey's sloppy playing at points and ripchording tunes jus when they are getting their legs is another reason this tour is jus mediocre IMO. If I ever had to miss a whole tour in the past id be absolutely pulling my hair out and find a way to get to more than 1 show no matter what it took. But this year so far I'm perfectly fine with not making any shows. This may very well all change and I hope it does. And for everyone out there having a blast and loving the MUSIC (the reason i go to shows) kudos to you and Im happy for you. Welp that's all I got , I'm going to listen to the best run of 3.0 now (Summer 2012). take care all and enjoy

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